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Elgar: Symphony No. 2 (LSO Davis)
 
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Elgar: Symphony No. 2 (LSO Davis) [Live]

~ Edward Elgar (Artist)
4.3 out of 5 stars  See all reviews (3 customer reviews)
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Product details

  • Audio CD (15 April 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Live
  • Label: Lso Live
  • ASIN: B000063DQD
  • Other Editions: MP3 Download
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 132,541 in Music (See Bestsellers in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Samples
Song TitleArtist Time Price
Listen  1. Symphony No. 2 in E flat, Op. 63: I. Allegro vivace e nobilimenteSir Colin Davis, London Symphony Orchestra (LSO)18:23Album Only
Listen  2. Symphony No. 2 in E flat, Op. 63: II. LarghettoSir Colin Davis, London Symphony Orchestra (LSO)16:19Album Only
Listen  3. Symphony No. 2 in E flat, Op. 63: III. Rondo: PrestoSir Colin Davis, London Symphony Orchestra (LSO) 8:26£0.79
Listen  4. Symphony No. 2 in E flat, Op. 63: IV. Moderato e maestosoSir Colin Davis, London Symphony Orchestra (LSO)14:36Album Only

On this CD:
  1. Symphony No. 2 in E flat
    Composed by Sir Edward Elgar
    Conducted by Colin Davis

Product Description

Sunday Times, December 8, 2002

Classical Records of the Year


The Guardian, December 6, 2002

Classical CDs of the Year
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Customer Reviews

3 Reviews
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Average Customer Review
4.3 out of 5 stars (3 customer reviews)
 
 
 
 
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9 of 10 people found the following review helpful:
4.0 out of 5 stars A hugely spirited performance., 7 May 2002
By A Customer
At the head of Elgar's Second Symphony (1911) is appended a line from Shelley: 'Rarely, rarely comest thou, Spirit of Delight'. Stephen Johnson, in his characteristically excellent notes for this release, emphasises the fact that this line could be taken to mean very different things. Does Elgar's symphony capture the exuberant 'delight' of a composer at the peak of his powers, or does it dwell on the darker aspects both of Elgar and of a Britain heading for the abyss in 1914?
The answer, of course, is both. This is an emotionally complicated symphony that makes great demands on its interpreters. Sir Colin Davis and the LSO meet almost all of these demands in a performance that benefits greatly from being recorded 'live'. The audience at the premiere of the work in 1911 'sat there like a lot of stuffed pigs', according to Elgar; but it is unlikely that the audience at the Barbican in October 2001 were anything like as reticent (though applause is judiciously omitted after the symphony's sunset coda).
This is a hugely spirited performance, well-played and well-recorded though not always ideally clear on detail. Davis's tempi are sensibly chosen, capturing well the flexibility of a score that is energetic at one moment and reflective the next. He is particularly good, too, at ending movements. The close of the slow movement (a great funeral march) sounds more bleak than it often does, perhaps looking forward to the Elgar/Payne of the Third Symphony. The end of the third movement, after the huge percussion outburst (judged to perfection here) is taken much more slowly than usual, and is made to anticipate the quiet music at the very end of the symphony. And that famous passage itself, where the bounding 'Spirit of Delight' theme returns clad in lush orchestration, is most beautifully and affectingly played.
The LSO, once Elgar's own orchestra, sounds totally committed throughout and produces top-drawer playing. So, too, is Davis, and audibly so, for the recording picks up a great deal of vocal exhortation from the podium. The groans and gasps may disconcert some listeners, but they are part of a 'live' experience and testify to the tremendous spiritedness of the whole enterprise. This version perhaps does not challenge existing interpretative loyalties (Andrew Davis, Edward Downes and John Barbirolli), but at its modest outlay is to be recommended with the greatest enthusiasm.
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4.0 out of 5 stars Sumptuous LSO, 18 Aug 2008
Rich, warm playing from the LSO does full justice to this (relatively) unloved symphony. The recording is tactile, detailed and has a wonderfully extended soundstage - most enjoyable. My only gripe is Davis (presumably) mumbling and humming his way through the quieter episodes (as he did, although to a less noticeable degree, thourgh the sympony 1 in the same series).
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5.0 out of 5 stars A Rare Spirit of Generosity!, 30 May 2007
By R. C. Ross (Birmingham) - See all my reviews
(REAL NAME)   
`Rarely, rarely comest thou, Spirit of Delight' - and rarely, if ever, has this symphony been performed with such a spirit of generosity! No other recorded performance I know allows us to appreciate how vast, in every way, is this magnificent and elusive symphony.

The liberties taken with the score - and there are not a few! - are forgivable. No, not `forgivable' but laudable! Davis, for once, out Barbirolli's Barbirolli in sheer unstinting emotional intensity of expression.

And that is wholly appropriate - Elgar had said that in this symphony he `has shown' himself, made visible his soul.

The scale here is Wagnerian! But the music, rich and eloquent, is sheer Elgar.

The LSO fully support Davis and give their all.

Detailed dissection of phrases and measures is out of place here - dissection is performed only on a dead creature. But this creature is altogether alive! Cut it and it would bleed!

This work was not understood or appreciated in Elgar's lifetime. This despite Elgar's own recorded performances. Elgar's way with this symphony is entirely different from Davis's. In matters of tempi alone Elgar reaches the works coda nearly 10 minuets before Davis! But also in style - Elgar direct and self-effacing in performance.

That may seem odd - when the musical language and psychology are anything but self-effacing or direct. The complexity of the symphony is exemplified in the ambiguity of the Shelley quotation. Is the content of the symphony an expression of a rare moment of delight or of it absence? Or is the answer `Both'?

Maybe, in this case, the composer wasn't, after all, the ideal conductor and advocate of his own composition. Might is not be altogether heresy to suggest that if the work had been presented as Davis presents it here it would more quickly have gained a following?

We are deeply indebted to the performers for this magnificent version!
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